“When I think of the first time we met, when he called me for La dolce vita, I went to meet him in Fregene. He was at the beach under an umbrella and he said immediately, ‘The producer, De Laurentiis, would like Paul Newman for this movie, but Paul Newman is too important, too extraordinary. I need an ordinary face.’ Maybe there was a little pleasure in hurting me, I don’t know, but in any case, he didn’t hurt me at all because I never considered myself an extraordinary face or character, so everything went well.” — Marcello Mastroianni on Federico Fellini

divasmonroe:

“La dolce vita”  (1960)

maudelynn:

the line to woodstock, august 1969 

The Godfather (1972)

bbook:

Legendary Film Critic Roger Ebert Has Passed Away

For as long as I can remember I always wanted to be a gangster.

The 1950s and early 60s saw a Hollywood dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing and improved sound, and as early as 1957 the era was called a “New Hollywood”. By the mid-1960s, ‘Old Hollywood’ was rapidly losing money; and the audience was changing demographics. European art films (especially the Commedia all’italiana, the French New Wave, and the Spaghetti Western) and Japanese cinema were making a splash in America…

New Hollywood, post-classical Hollywood or “American New Wave”, refers to the time from roughly the late-1960s to the early 1980s, when a new generation of film school-educated, counterculture-bred young filmmakers came to prominence in America, influencing the types of films produced, their production and marketing, and impacted the way major studios approached filmmaking.

alpacinoz:

Al Pacino - And justice for all (1979)

“I’d literally quit singing and playing, and I found myself writing this song, this story, this long piece of vomit about 20 pages long, and out of it I took ‘Like a Rolling Stone’ and made it as a single. And I’ve never written anything like that before and it suddenly came to me that this is what I should do”

Francis Ford Coppola said that in the final sequence, Michael’s outcry was almost completely cut out due to its agonizing sound.